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 …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,…  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  … Friedlander, Garry Winogrand, and Diane Arbus was introduced together in an exhibition at the Museum of Modern Art, New York, entitled New Documents, setting the standard for a new notion about the ‘documentary.’ In his wall label for that exhibit John Szaskowski wrote, ‘In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it.’ 18….  … works are ‘portraits’ of spaces, but really you could just as easily turn that around: several of the portraits in my earlier work were to a certain extent already images of ‘spaces’, as I now see them. At the same time, the label that was attached to my photos very early on is proving stubborn. The same clichés keep on turning up in article after article. Admittedly, I still don’t make optimistic, colourful pictures, but I still believe I’m doi…  …y identifies a realist use of the medium, which could be seen to open up a much more complex and rich understanding of photography than the limiting implications of terms like formalism, which tend to get used pejoratively to label your writings and contribution to the history of photography. JS: When critics don’t know what to say about a good photographer who uses the camera simply and directly they say that the photographer uses the came… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006) | ||||||||||||||
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